1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve? The stasis in the play differs from that of of other plays that we have read this year because the settings and event that take place occur in different cities, spanning a period of time. It is safe to assume that the play takes place from initially in the 1990s, and also occurs an transitions from the cities of Boston, New York, as well as Los Angeles, to name a few.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Execution of Justice and how is it broken? The intrusion in the play occurs when the David, as well as the audience, find outs that Marcus, an actor in the play Miss Saigon, is not Asian at all, although the character that he plays is. This is ironic as David has been fighting, particularly in his own works, to advocate for accurate representation in theatre. 3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: what is the heart of the play? How does the title figure in this? The timing of this play is important, as for one, it illustrates, albeit more theatrically, a real experience that David Henry Hwang faced in his career. The outrage and upset of a white character portraying an Asian is important in that historically, the misrepresentation that Asian Americans faced in the media went wildly swept under the rug. The heart of the play is that this maltreatment and transgression that the media and the entertainment industry has put the Asian community through will be tolerated no longer. Yellowface is an offensive term akin to black face in that it is a pastiche of mockery of minorities in that white characters “dress up” as ethnic characters to portray their unique experiences in effort to appear “authentic”, when in reality it is an inaccurate and offensive and distasteful practice.
4. State the dramatic question that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.) Will Hwang be able to recover from his blunder?
5. Use Hwang’s “character” to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing each of the lawyers. Hwang’s want: to essentially stay true to himself Me against another individual: Concerning David and Marcus, David must not allow Marcus to know that he is aware of his race, for he cannot fire Marcus simply because of that. He must appease Marcus while at the same time staying true to his ethics, as well as appeasing his society as well, which leads into: Me vs. Society: Different sects of society agree and disagree with Marcus, so in a way nothing that he can do nor action that he can take will appease everyone. The Asian American community is enrage by the decision, and David ethically agrees with their sentiments, but individuals that believe it would be unfair of him to fire Marcus are also to be considered as well for their outrage is as important.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Yellow Face. I would say that the most theatrical moment of the play is when David informs us that Marcus was fictitious and metaphorical. This completely questions what we as the audience have experienced in the play as well as enlightens us as we consider the various stances of the issue and our investment in the problem at hand.
The stasis in the play differs from that of of other plays that we have read this year because the settings and event that take place occur in different cities, spanning a period of time. It is safe to assume that the play takes place from initially in the 1990s, and also occurs an transitions from the cities of Boston, New York, as well as Los Angeles, to name a few.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Execution of Justice and how is it broken?
The intrusion in the play occurs when the David, as well as the audience, find outs that Marcus, an actor in the play Miss Saigon, is not Asian at all, although the character that he plays is. This is ironic as David has been fighting, particularly in his own works, to advocate for accurate representation in theatre.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: what is the heart of the play? How does the title figure in this?
The timing of this play is important, as for one, it illustrates, albeit more theatrically, a real experience that David Henry Hwang faced in his career. The outrage and upset of a white character portraying an Asian is important in that historically, the misrepresentation that Asian Americans faced in the media went wildly swept under the rug. The heart of the play is that this maltreatment and transgression that the media and the entertainment industry has put the Asian community through will be tolerated no longer. Yellowface is an offensive term akin to black face in that it is a pastiche of mockery of minorities in that white characters “dress up” as ethnic characters to portray their unique experiences in effort to appear “authentic”, when in reality it is an inaccurate and offensive and distasteful practice.
4. State the dramatic question that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
Will Hwang be able to recover from his blunder?
5. Use Hwang’s “character” to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing each of the lawyers.
Hwang’s want: to essentially stay true to himself
Me against another individual: Concerning David and Marcus, David must not allow Marcus to know that he is aware of his race, for he cannot fire Marcus simply because of that. He must appease Marcus while at the same time staying true to his ethics, as well as appeasing his society as well, which leads into:
Me vs. Society: Different sects of society agree and disagree with Marcus, so in a way nothing that he can do nor action that he can take will appease everyone. The Asian American community is enrage by the decision, and David ethically agrees with their sentiments, but individuals that believe it would be unfair of him to fire Marcus are also to be considered as well for their outrage is as important.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Yellow Face.
I would say that the most theatrical moment of the play is when David informs us that Marcus was fictitious and metaphorical. This completely questions what we as the audience have experienced in the play as well as enlightens us as we consider the various stances of the issue and our investment in the problem at hand.